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After Mumbai-based Naren's Ahuja's wife, Madhvi, leaves him along with their daughter, he decides to move into an apartment, and share it with two others. He ends up having two tenants - a Casanova-type Abhay Suri, and an aspiring-nerdy poet, Milind Kelkar. While fending-off advances from his lawyer, Sunanda Pradhan, he falls head-over-heels with a new employee, June Pinto, at his bank where he works as a Loans Officer. Abhay decides to woo former Miss India, Anushka, who is married to wealthy Harsh, while Milind has given his heart to Gungun Sarkar. The trio then embark on a roller-coaster ride in order to woo and win the women they want to spend the remainder of their lives with.Written by
The heart has its reasons that reason knows nothing of
Venturing into the comedy is a road less travelled for Mr. Bhandarkar, considering the fact that he bears a monopoly of a self-invented genre which involves cherry-picking a cross-section of the society and present a multi-dimensional view. Obviously more than the expectations, it was the curiosity on his faring that made me have a go at "Dil Toh Baccha Hain Ji". At the outset the outing seems to be on the lines of the classics we have witnessed from the house of Hrishikesh Mukherjee & Basu Chatterjee.
ʘ Ajay: The mid-life crisis of a banker battling a divorce on personal front is well depicted. Him falling heads-over-heels for a girl half his age and undergoing an image makeover is inspired from "American Beauty" (hold your horses don't expect the rose petals which I suppose could have flipped the Indian censor board). Mr. Devgan seems to be under a big misnomer that off-late his signature style constipated look qualifies for acting.
ʘ Rituparna Sengupta: As a news reporter undergoing a mutual consent divorce sans alimony I expected the role to have multiple facets. Sadly the character comes across very much linear and serves no purpose as the plot moves along. Editing to blame perhaps?
ʘ Omi Vaidya: Raju Hirani and Aamir Khan deserve being accredited to extract a fantabulous performance from "the silencer" in 3-Idiots. The same cannot be said in this movie (sad). His performance barely qualifies for an average. The script has been tweaked to incorporate the videsi singing "Mera Bharat Mahaan/ Aamchi Mumbai/ Jai Maharashtra" slogans. His poems/ poetry are worse I have heard in recent years and definitely warranted good some good writing on that front.
ʘ Shazahn Padamsee: Very promising. Her makeup, costumes and effervescence brighten up the Lolita character and make forty plus go head-over-heels.
ʘ Shraddha Das: Dangling between the head and heart she gives an honest performance.
ʘ Shruti K Hassan: Honestly she has got what it takes to give Kats & Sonam a real tough fight, should she give up her condescending attitude and lighten up a bit.
ʘ Shweta Salve attempts a la Rekha of "Parineeta" and croons a number on similar lines. Best not compared I say.
ʘ Mukesh Tiwari was wasted
ʘ Tisca Chopra: The role of trophy wife who has mastered the skill to achieve the best of both both worlds is effortlessly played by Tisca Chopra with a rare maturity.
ʘ Emraan Hashmi:: A believable character whom you would bump into everyday life. Practical, suave and slimy character to which the layers are well fleshed out. Some good tongue-in-cheek lines add icing to cake. Emraan's performance is very smooth and I guess he has a flair for these type of roles.
Tisca Chopra and Emraan Hashmi clearly stand out on the acting front and practically steal the thunder from the rest. Paresh Rawal intro, a novelty, hardly contributes. The screenplay could have been tighten up a bit in conjunction with some chopping on the editing table to chase away the predictability factor. A few songs are quite hummable and neatly blend with the storyline.
Madhur should stick to doing what he is best, the slice-and-dice genre.
PS: Though the title borrowed from the song in "Ishqiya" its my firm belief that the characters from the original (Naseeruddin & Arshad Warsi) aptly justified "Dil Toh Baccha Hain Ji" when it came to the matters of heart.
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